TroyAir

Its been awhile since I've seen this film but I recall that it was a so-so comedy who's only redeeming feature was the fact that Diane Franklin starred in it. Basic premise is that one man and one woman are sent through History to show the value of love during a test by the Devil (or something like that). Anyway, it starts out with Adam and Eve in the Garden of Eden (yes, we see her topless). Then WW1 when Diane proves her love by standing before her lover as he's about to get shot by a German firing squad and opening her blouse (again, we see some skin). And so on until the Devil decides that Love can conquer all.

A good film for those who saw "Better Off Dead" and wanted to know if Diane was as hot as she appeared in that film with John Cusak. Answer: she sure was. If you're looking for comedy, skip this film and try "Better Off Dead".

Probably one of the better prime time not-quite-drama/not-quite-comedy television shows from the 1980's, this NBC hit became one of the network's cornerstones in their weekly prime-time line up. Several of the stars achieved their stardom here and cultivated the exposure into leading roles in various made-for-tv movies, and of course there was the usual workplace chatter the day after a show would air.

Leyland MacKenzie is the powerful top attorney of a prominent Los Angeles law firm. Grace van Owen, Ann Kelsey, Michael Kuzak Arnie Becker, and Stuart Markowitz handled the criminal, commercial, personal injury, divorce, and tax law cases (respectively). Later, Victor Sifuentes would join the firm, after being hired away from the Public Defender's office, to handle most of the firm's 'pro bono' work. Abbey Perkins was the junior attorney trying to work her way up the ladder and Roz Melman was the loyal legal secretary to Arnie Becker.

Each week, a new set of cases would be introduced, some dramatic, some humorous, some based on cases "ripped from the headlines". But what kept the viewers each week was the relationship between the characters. Handsom Kuzak was trying to romance the beautiful van Owen (at one point donning a gorilla costume and reading poetry to her on the courthouse steps)and later the diminuitive intellectual Markowitz was trying to develop a relationship with the hard-charging Kelsey (in real life, Jill Eikenberry and Michael Tucker became wife and husband during the show's running, which played out well for fans of the show). Perkins was the single woman trying desperately to balance her work, her home life, and her desire to succeed (I believe she may have even been a single mom, but I don't recall any children being cast). And there was the ongoing humorous interaction between Arnie and Roz to keep things light.

The show has held up well over the years, mostly because it played on people's common perceptions of attorneys, which hasn't changed in the years since the show went off the air.

Fans of "Endless Summer" will appreciate the documentary feel of this film about two guys and a second-hand Chevy Suburban that travel through Mexico on vacation looking for perfect surfing spots. Along the way, they make new friends at each stop, trying true Mexican home-made cooking, and generally experiencing a good surfing adventure. And we're along for the ride. That's the reason its become a classic cult film in the surfing world.

A simple, no-frills, good-time film that gives the audience a chance to experience a taste of a surfer's dream - to travel, surf, eat, sleep, and surf some more. Its kind of like watching someone's Summer vacation home movies, but with better camerawork, better narration, and a vacation that is actually interesting and entertaining. If you're thinking of going to Mexico, you'll want to see this film so you'll know which spots to visit.

No nudity (except for one scene where the guys wear T-backs on a beach as a result of losing a bet with a friend), no harsh language, no gore (except for a bit of blood when one of the guys finds a rock in the surf zone with his head), and no violence. Nothing offensive whatsoever. A good family movie, and you don't need a family to enjoy it.

One of the better bondage films out there, the film's premise is pretty simple: a South American border post commander (played by Be Be LeBadd) intercepts spies (played by everybody else) posing as university students and must interrogate them. The writers threw in a couple of plot-twists that are interesting, though you didn't really want to see this film for its plot anyway.

Be Be does a good job in this film(being one of the top two doms in the bondage film business, would you expect less?) and the women are all attractive, though the actress playing the border guard/assistant had a very bad bosom-enhancement operation that is kind of scary to look at. Fast-forward your vcr past those nude scenes and the film isn't too bad.

You've got your usual assortment of scenes: the "hands chained over the head and whipped" scene, followed by the "on the table and clipped" scene by the first girl. The second girl gets the "suspended by wrists and ankles" scene and the "bound to the X frame and turned upside down" scene. Ashley Rene and the last girl get the "bound to wall and whipped" scene. Ashley is then suspended by her wrists and ankles and the last girl get put in stocks and has her feet cropped. The first girl is very attractive and does an excellent job in the film. The second girl may or may not be packin' silicone, but does a good job anyway. Ashley turns in a strong performance (what would you expect from a former Ms. Bondage World?) and the last girl screams too much but is nice to look at.

Nikki Dial's performance in "House of Correction" is still the best whipping scene in a bondage film I've come across so far, but the actresses in this film are a good Second Place. Be Be was the whip-wielder in both films and knows how to work her charges. Check out "House of Correction" if you haven't already.

After reading the cast list for this film, I had hopes of it being a pretty good flick. Unfortunately, the editing and filming crews were the weak point in the making of the video. The sound is horrible, the lighting is terrible, and the camera work reminds me of something out of a 9th grade amateur film project. This was Twist Productions' first project, and the quality shows it.

The actresses give pretty good performances (and look "all natural") and the bondage master, Ernest Greene, did a good job setting up the equipment and the scenarios, but the people behind the camera didn't equal the skills of the people in front of the camera, and the film ends up looking cheesy.

In my opinion, you'll get a better performance by Nikki Dial in "House of Corrections" than you will in this film. The box cover art showed Nikki in suspension with Alexis Payne holding a whip, which implied that Nikki would be whipped while hanging by her wrists at one point or another. Unfortunately, such a scenario never occurs in the film, which is too bad as it might have made the film worth watching.

Based on an original story by Sir Arthur Conan Doyle (the same guy who wrote "Sherlock Holmes" novels so many years ago), this movie has a pretty good plot but is hampered by a low budget and television censorship (or so it would appear). I've never read the original novel, so I can't comment on how close the film tracks to the original story. I've seen another adaptation that glossed over some of the plotlines raised in this film, and between the two films that I've seen, this one probably follows the novel closer.

Dr. Challenger is on an expedition in a jungle when one of his bearers tries to steal a map from him while he sleeps. Challenger suffers a leg wound in the struggle and ends up killing the bearer. The next day he is poised to climb an escarpment and spots a winged creature flying over the cliff's ledge but because of his wound he is unable to continue his expedition and is forced to turn back. Returning to England, he makes a speech to a British scholar's society about how he came upon a land where a dinosaur life form thought to be extinct - a pterodactyl, a bird-like dinosaur that either flew or glided -still exists(interestingly enough, this book was written before the discovery of the pcelocanth (a dinosaur fish) caught in a fisherman's net off Madagascar in the 50s or 60s).

Back in England, the scholars scoff Dr. Challenger and rebuke his claims. A newspaper reporter in search of a story and some adventure calls out to the scholars, stating that they should launch an expedition to prove Dr. Challenger's claims true or false. The scholars retort that perhaps if the Society were to fund an expedition that perhaps the reporter would like to join them, along with a young boy in the auditorium. There is, of course, much laughter until their offer is accepted by the reporter, the boy, and a female photographer who happens to be a wealthy supporter of women's rights and offers to fund the expense of the expedition. Money talks and the expedition is prepared, on the condition that Challenger remain in England, to avoid any complications to the leadership of Challenger's rival, Dr. Summerlee.

Once at the jungle station, Dr. Summerlee opens an envelope that is supposed to contain the map to the escarpment, but the paper inside is blank! Ta-daa, Dr. Challenger arrives with the map and joins the expedition. Also joining the expedition is the boy, who stowed away in the ship from England, and an attractive native girl ("Malu") who is to act as an interpreter for the group. The group gathers up some native bearers and proceed up the river into the jungle.

In my opinion, the movie spent too much time getting our heroes into the adventure. I can understand the need for character development and motivation, but it just seemed too tedious, particularly since all of the characters are stereotypical and there really isn't any development anyway. But, I suppose when the story was originally written, all of this was new to the viewers so it had to be explained.

Once in the jungle, our heroes climb the escarpment, only to find themselves stranded when the brother of the bearer Challenger had killed earlier comes along and cuts their climbing ropes. The group makes a camp, but must battle fierce native warriors who capture Challenger, Summerlee, the photographer, and the native bearers and are going to feed them to a tyrannosaurus rex by placing leaves around their necks and pushing them off a cliff into the t-rex's claws. The boy figures out how to save them by making a balloon out of a shirt and natural gas from some hot springs nearby and scaring the native warriors.

Later, the group finds a friendly tribe and one of the young girls of the village has a baby pterodactyl that's dying. Summerlee reasons that perhaps the leaves that the warriors had placed around their necks to feed the t-rex might be some sort of dinosaur food, so he collects some and revives the baby pterodactyl. Challenger and Summerlee congratulate each other -Summerlee congratulates Challenger on discovering living dinosaurs and Challenger congratulates Summerlee on figuring out how the dinosaurs survived extinction - and they become friends.

John Rhys-Davies has become the prototypical explorer/adventurer actor. He did an outstanding job in the Indiana Jones films, this film, a remake of "Ivanhoe", the "Shogun" miniseries, and he recently did the narration for "Empires of Mystery" Inca/Aztec/Maya exhibit at the Florida Internation Museum. In my opinion, he carries this film. The actress playing Malu has one of the best smiles I've seen on camera, right up there with Erik Estrada and Donnie Osmond, and looks like she belongs in a steamy jungle of Brazil. She has a pretty good body in that sarong, too. The dinosaur scenes are mediocre. The puppets aren't going to win any special effects awards and in this day of Computer Generated Images they almost look ridiculous, but they get the idea across. The fierce native warriors look pretty good - their white paint makes them look like skeletons and look suitably ferocious. I was surprised that the adventurers managed to stay in full dress, complete with vest, long pants, and long coat, while the natives dress in sarongs and loincloths. I would think that they would "go native" for comfort, if not for practicality. But, I suppose the standards of Doyle's time didn't allow for such freedom. You can go forth wreck indigenous species and interfere with other cultures, but you can't take off your shirt.

No skin, no foul language, no gore (in fact, the gunshot wound to the bearer has no blood at all), nothing terribly frightening. A good movie for the whole family. Fans of jungle films may enjoy it, but you'd probably get more entertainment out of a good "Tarzan" film.

I've seen the begining of this film and I've seen the ending of this film but not both at the same time, due to its presentation at unusual time schedules on tv. Nonetheless, I've seen enough to know that it's a pretty fair "Tarzan" low-budget action film.

Lex Barker plays Tarzan with Johnny Weismuller's pidgin English, but with a California accent. Vanessa Brown plays Jane with a lot of spirit, just the way Jane should be played. Let's face it, if a woman is going to be running around the jungle with an ape man and chasing slave hunters, she better have her wits about her, and Brown's Jane certainly does.

The story opens with Barker and Brown riding their elephants through a Hollywood jungle when they hear screams. Ever-alert to danger, Tarzan swings down off of the elephant and runs to a local village, thinking that the screams came from there, with Jane and the monkey sidekick Cheetah close behind. When they get to the village (inhabited by people who look more Middle Eastern than Central African), they find the witch doctor performing a ceremony, but the chief says that they did not scream, so Tarzan darts back to the river to check on the local village girls who were there gathering water. When they get there, they find a bowl one of the girls was using and Tarzan gets hot on the trail. Tarzan catches up to a group of three slavers, who look vaguely Egyptian. He subdues one, but the other two escape after conking Tarzan on the head.

The villagers take the captured slaver back to the village to make him talk, but he's infected with a disease and can't stand up, grabbing his knees and falling to the ground. Soon, other villagers are grabbing their knees and falling to the ground, so Jane tells Tarzan to go to a mission to get a doctor. Tarzan goes and brings back the doctor and his voluptuous assistant, who looks very European and speaks with a French accent but wears a sarong.

At some point in the story, Jane and the voluptuous assistant Lola are captured by the slavers and taken to a lost city, along with the other village girls. Presented to the ruler of the city, the girls are informed that they are to be either sold as slave girls or will join the harem. Naturally, Jane and Lola resist and must be punished, eventually being sealed inside a pyramid to die. Tarzan learns where they are and he tries to save them. I won't go into too much detail here because I don't want to ruin the drama, but essentially Jane comes through at Tarzan's darkest hour and together they free the slave girls and escape from the city.

Now, even though the title has "slave girl" in it, don't think for a second that there's going to be nudity or anything prurient like that. However, we do get to see Vanessa Brown in a two-piece leather outfit (rare for a Jane character, it seems) that reminds me of a cheerleader costume - full cut shoulder straps, V-shaped neckline, longer top gathered in the middle with a mid-thigh cut skirt. This has the effect of making Brown look very athletic (which she is) and really shows off her perky figure well. And, as I mentioned earlier, Lola comes in a sarong and has the full figure to pull it off (nowadays, she'd never make it as a B-movie actress but back in the 50s I'm sure she was a ticket). The other actresses look quite lovely in their sarongs and, later, in their harem costumes, too. Some of them look like they could've modeled for Vargas paintings or nose art on WW2 bombers.

This film certainly isn't a high point of modern art, but fans of "Tarzan" and cheap weekend movies will appreciate it for what it is: a piece of 1950s nostalgia and good, clean fun.

Thirty years after making the greatest surfing movie of all time - "Endless Summer", with Mike Hynson and Robert August as two surfers who try to achieve the ultimate dream (an endless Summer of waves, girls, sun, and surf)- Bruce Brown decided to shoot a sequel. He took two more surfers, a shortboarder and a longboarder, and traveled the world again. This time around, the surfing world is much larger than just Hawaii and California, so the guys don't really get to play "surfing ambassador" on this trip like the two other guys did in 1964.

Robert August makes a guest appearance. Since completing his surfing odyssey in 1964, he's now known as one of the greatest surfboard shapers in the business, specializing in longboards. One of the greatest tragedies in the world is the fact that the board he used in "Endless Summer" ended up on a used surfboard rack and was sold, lost forever to a nameless surfer who probably didn't know what he had. However, August has made a living creating duplicates of that board and they continue to sell well. But I'm deviating from the movie.

Again we have Bruce Brown giving narration to the film, although in this movie the cameras recorded sound, so we can hear the surfers reactions to the waves and rides rather than have Brown interpret them for us (though I miss his narration - it was much funnier in his retelling). And we have the familiar tune from The Sandals, but recorded with better guitars. This time the two title surfers go to places not normally associated with water sports, such as Alaska and France. But even here, with the improvement in wetsuit technology in the past 30 years, surfers are riding waves. We also get treated to a brief history of surfing at the beginning of the film, which is a nice tribute to the sport which has done well for Brown.

Interspersed between the surfers' travels are clips from surf competitions, famous moments in surf history, and some fantastic underwater photography. While the trailer to the movie focused on the big action scenes (a la the "X Games" influence of ESPN), the movie itself actually follows a less MTV-heart attack pace, showing us the grace and beauty of moving on a wall of water. The advances in camera technology have really benefitted filmmakers, and it shows in this movie.

So is the sequel as good as the original? Yes, if not better. While I miss the relaxing humor of Bruce Brown's narration that was in the original, the photography of the sequel is much better. I'd suggest watching both.

Back before Sean Penn gave us his hilarious interpretation of a surfer as a drugged-out loser with a limited vocabulary in "Fast Times At Ridgemont High", the common image of a surfer was that of a clean-cut guy who surfed just like other people sailed or fished. They were normal people. This film was made during that time, when surfing was a sport and surfers were athletes. And its that charm that makes this film special.

Bruce Brown had made 4 feature-length films prior to making this one, but this film's incredible success made him a cult hero, a Cinderella story who came out of nowhere to give us a film that could quite possibly be the best surfing documentary ever made. His premise was simple: take 2 surfers and try to achieve what everyone dreams of: an endless Summer of sun, surf, and girls (but mostly surf).

Brown's narration, with its soft California tone, really gives the film that comfortable, easy feeling, like watching an old Walt Disney film from the early 60's, which contributes to the film's charm. We know, we just know, that these two guys are going to go out on an adventure and nobody will die, nobody will get arrested, and nobody will do anything immoral (or at least _too_ immoral).

From the west coast of Africa, to South Africa, to Australia, to islands in the Pacific, to Hawaii, we go along as two young men from California introduce the sport of surfing to people who have never seen a surfboard before. It is quite hilarious to see villagers in Ghana and Senegal try to surf a longboard in heavy surf for the first time, and Bruce's narration really tells a funny story, and all along we're relaxing to the gentle guitar sounds of The Sandals.

We also get to see some of the best surfers riding some great waves in the age before the beaches got crowded with jet skis, racing boats, and more surfers. "Endless Summer" is one of those films that acts like a time capsule, and is just as entertaining now as it was when it first came out.

I highly recommend it for everyone. Adults, kids, surfers, non-surfers. There's something for everyone in this film. You don't need to know how to surf to enjoy this movie.

Nikki Dial started her film career doing bondage films and later advanced to more contemporary pornography films, where she achieved most of her fame as an actress. She used her film earning to put herself to college, and is now retired (for the moment) from porn. Ashley Renee started out as a model for "Penthouse" magazine and then migrated to bondage films where she became known as the Queen of Bondage. This film features one of the two top dom's in the bondage business - Be Be LeBadd (Alexis Payne is the other). I caught this film on a late-night cable channel during a bondage film marathon, which is where I got most of the background info on the performers.

Be Be is the keeper of the Tower of Lyndon, in which a noblewoman (Greta Carlson) has been falsely imprisoned on charges of adultery. As a prelude to her torture, Be Be gives a good working-over to a dungeon wench (Nikki Dial). Nikki is bound to a X-frame and whipped with a cat-o'-nine-tails, then poked and squeezed with pincers, and then whipped some more before being suspended briefly. Greta is then bound to a table and whipped with the cat-o-nine-tails for a bit. And then Ashley Renee, who is imprisoned because Be Be wanted her to be, is bound with her hands above her head and whipped, then bent over and whipped, and then has her two major talents pressed and clipped.

No blood, a little harsh language, lots of nudity (of course). Nikki gives a good performance and seems to be able to take quite a bit of punishment. She certainly squirms and moans with more realistic acting (is it acting?) than Greta or Ashley. Be Be certainly knows how to push Nikki and Ashley to their limits, but she seems to go soft on Greta. Nikki gives a better performance in "House of Corrections", which is a better film overall.

This film was the 2nd in a series of films I caught on a cable channel's bondage marathon and stars some of the top names in bondage films in the early 90's - Nikki Dial, Desi D'Angelo, Cie Cie, Melinda White, and was the introduction for Randi Jones (who is quite lovely).

Be Be LeBadd, one of the top doms in the business, is the caretaker of a women's prison who accepts bribes from an outsider (Randi) to torture inmates for her personal pleasure. First up is Nikki Dial, who is stripped naked and placed face down on a padded rack and whipped quite hard by Be Be (who really knows how to work her charges). Nikki is then turned over and whipped some more, then clipped and slapped until she promises to behave. I must point out that this is one of Nikki's better performances in a bondage film, and I must take my hat off to her for her ability to absorb the punishment. Nikki Dial is one of the best performers in a bondage film I've ever seen, and she really shows us why in this film.

Next up is Melinda, who gets off easy compared to Nikki. She's chained to a square frame on her hands and knees and lightly whipped with a crop. Not much variety here, just different camera angles.

After this, Desi and Cie Cie are stripped. Cie Cie gets strung up with her hands above her head (not suspended) and is whipped, and then they're both bound to a frame facing each other and whipped, and then Desi is bound to a X-frame and whipped, and then they're bound to a double rack and have their feet cropped. Finally, Desi is suspended as Cie Cie lies on the rack.

And then the tables are turned on Randi, as one of the warden's previous inmates, who had been released on parole, returns for revenge and pays Be Be to spank and whip Randi. Randi is quite lovely and attractive, and does a good job performing for the camera, but she doesn't have the pain threshold that Nikki has and her whipping scene comes off a bit faked. The film closes with the previous inmate being beaten as well, but for her own pleasure.

Overall, the film is one of the better bondage films simply because of the variety of methods displayed and the number of actresses involved. All of the girls are pretty enough (though Cie Cie didn't really do much for me) and I didn't detect any silicone (though I have my suspicions about Melinda). No blood, no sex, lots of nudity, occassional harsh language. A film worth watching again.

Anyone born before 1980 has probably seen Doug McClure's movie which sent a modern man to a prehistoric world where above-ground dwellers were civilized and underground dwellers were ape-ish, poor-sighted creatures that preyed on the above-ground dwellers. And then there was a smattering of dinosaurs, too.

There were several different variations of this theme, such as the Saturday morning show "Land of The Lost". This movie is just as cheesy and fun to watch and the actors are much more attractive. The actress that plays the native princess reminds me of Sonia Braga, the actress who plays Dr. Cruz reminds me of a brunette Kathleen Turner from "Romancing the Stone", and the actress who plays "Veronica", a Jane-like blonde jungle girl, is particularly striking. The 4 male leads are stereotypical as well - the dapper older gentleman professor, the adventurous scientist, the big game hunter, and the dashing young balloon pilot who strikes up a romance with Veronica. And as can be expected, the plot moves along pretty quickly, not delving too deeply into the philosophical aspects of disrupting a native culture (one of the things a true scientist would avoid) or removing animal species from their natural habitat (a concept which probably didn't exist during the Victorian era, when this story was developed by the man who wrote "Sherlock Holmes").

Some blood (gunshot wounds to the Missing Link ape-like creatures who kidnap the native princess and attack the adventurers), no harsh language, no nudity, no sex, nothing risque, nothing particularly frightening.

The special effects are good enough, though some artistic license is used in the dinosaur chase scene and in the scene where the pterodactyl attacks the scientist who steals the dinosaur egg, but this can be forgiven as this movie really wasn't intended to be very realistic anyway (we all know that a bullet does a bit more damage to human tissue than just leave a spot the size of a dab of ketchup).

I would expect a sequel to be written and hopefully it will be light-hearted fun, too. Although I do wish the costumer would re-do Veronica's outfits - I prefer the outfit Maureen O'Sullivan wore in "Tarzan And His Mate" - more hip, less fabric. And the intrepid explorers were terribly overdressed for a steamy jungle climate - long pants, high boots, and long coats must be terribly uncomfortable. But, then again this is a Victorian-era tale and that's probably what proper English gentlefolk wore when traipsing through the bush.

Worth a watch if you don't mind technical inaccuracies.

The first half of the film's outdoor shots were filmed on location in Morocco, but was interrupted in the middle of production by World War Two. The second half of the film uses Hollywood soundstages and locations in the United States (the scene were Sabu is reunited with John Justin after capturing the All-Seeing Eye was filmed at the Grand Canyon).

Special effects were cutting-edge at the time the film was made and are still passable by today's standards (though come off a bit cheesy). At times the actors' voices are drowned out by the background noise, and I had to continually adjust the volume on the my tv set as the film changed scenes.

I felt that the 1940's film censors handcuffed the producers in some of the scenes, such as the harem shots where the princess is bathing, an execution scene in the town square, a couple of swordplay scenes, and a later scene where the princess has been imprisoned by Jafaar. Still, there's enough to let us know what's going on off-camera and the plot moves along at a nice pace.

June Duprez is a pleasure to watch, even though her acting skills are never really stretched. I wish her costumes had shown more skin and less bodysuit, but then again this is 1940. Sabu turns in a solid performance as the boy-thief who helps John Justin reclaim his throne and save the princess. Justin's performance is good but a bit flowery at times, but then again, this is 1940 so I suppose it was standard for that period.

No nudity, no blood, no harsh language, no really scary scenes, some violence as Justin tries to fight off the enemy guards with a sword, a treat for the whole family (though adults may find one viewing to be sufficient).

I watched this tv show as a child, and every Halloween from the age of 5 to 8, I wanted to dress in a costume just like Batman's. Of course, my parents didn't have the resources to hire an entire corps of costumers and props masters, so I had to make do with a jumpsuit from Sears that had the Batman symbol printed on it. Such is Life. Still, I always thought Batman was the best of the legion of super-heroes to come around (except for perhaps Spiderman, whom I discovered later on).

Watching the tv show now as an adult, I realize just how campy and ridiculous it was, but where as a child I interpreted the action sequences as dynamic and exciting, now I see these same scenes as well-staged comedy, which is how the original producers intended it to be seen. Who can forget the big cartoon graphics such as "BAM!" and "POW!" and "Crrr-Rash!" which flashed up just before Batman slugged a villain or knocked over a prop? I beat up the sofa cushions with just as much enthusiasm. And don't even get me started on the car (Batmobile), the boat (Batboat), and helicopter (Batcopter) which I absolutely had to have in Corgi miniatures (still have mine in a box in the garage, along with James Bond's Aston Martin and the Monkeemobile). And all the kids knew the Batman song. NaNa NaNa NaNa NaNa Batman!

Looking back at it now, I see that even though Adam West and Burt Ward, two relative unknowns at the time, never really recovered from being typecast, just about all of the supporting actors were accomplished in either films, tv, or the stage, such as Cesar Romero and Victor Buono (check him out in "What Ever Happened To Baby Jane"), and they managed to continue their careers. A few, such as Eartha Kitt, used the "Batman" series as a springboard to other things (I saw Kitt's performance as the Wicked Witch in "Wizard of Oz" on stage and she was fantastic). But whatever their future careers became, they turned in quality performances on the show.

I always had a thing for both Cat Woman (all 3 of them) and Batgirl. The costume designers really knew how to show off a woman's curves in those tight-fitting catsuits with big metallic utility belts and high-heeled shoes, but I suppose that was the fashion back in the late-60's. They probably fit right in with the mini-dresses and go-go boots the other girls were wearing.

Your kids will love the show and will watch it again and again. You'll enjoy it the first two times you see it, but then it'll get stale and boring. But just remember, no matter how grim things get when the Riddler and Joker have Batman and the Boy Wonder hanging over a vat of acid or encased in a gas chamber, the Dynamic Duo always manage to pull out a can of Bat Rope Dissolver or Bat Gas Begone and show up to defeat the villains each week at the same Bat-time, same Bat-channel.

To the Batcave!

I have to admit that I've never been able to see this film in one sitting all the way through, partly because I happen to just channel surf on TV and stumble upon it after its started and partly because I seem to catch it about an hour before I go to bed and miss the ending. Still, from what I've seen, this is a very good film about Lot, who led the Hebrew people to a fertile land on the border of the cities of Sodom and Gomorroah. Anouk Aimee does a great job portraying the queen of the cities, and Stewart Granger plays a great Lot. The supporting actors and actresses contribute quite a bit of talent as well, but what really struck me was the costumes. For a 1962 biblical film, some of the outfits that the actresses wore were a bit racy, but that is intentional as it shows the sinful ways of the city-dwellers as opposed to the practical costumes of the hard-working free Hebrews (in fact, Lot has a discussion with a slave girl who is struggling to adapt to the ways of field work and field dress after living a captive life as a well-kept palace servant). The fight scenes are particularly well done, employing a cast of thousands as opposing armies and refugees. The scene where the Hebrews defend themselves by first lighting a pit of oil and then breaking a dam to flood a valley are well done. Even though the story may not follow the tale as told in the Bible, there's enough of it there that the viewer comes away with the overall concept of the story. But - I feel that this movie could be redone to stick a bit closer to the original tale. While the queen and her brother may have been evil, there just wasn't enough evil in the cities (limited by 1962 values, I suppose) to warrant their destruction. A good film for the whole family. No nudity, no harsh language.

I remember watching the "Spenser: For Hire" tv series with Robert Urich and Avery Brooks. I loved Urich's refined approach to the character and Avery Brooks played the sidekick "Hawk" as one smooth, tough, powerful character (in fact, he played it so well that they made a spin-off tv show based on Hawk). The show was a success for the network and was popular as an action series. There was a suggestion of romance between Spenser and "D.A. Silverman", but after the first few episodes they were nothing more than friends and professional associates, and the focus shifted from developing their romance to giving us gunfights and car chases.

Joe Mantegna is a terrific actor, and in the role of Spenser he brings a darker, more sinister approach to the character which is interesting and certainly gives Spenser more depth. He does a good job showing us the tough side of Spenser, as well as the sensitive, romantic side (and I don't mean a la "James Bond"). Its the sort of duality that is so often missing in action characters.

Marcia Gay Harden as D.A. Silverman brings a more romantic and sensuous characterization to the role, which was missing in the tv series due to strict network censorship. Silverman is still intelligent and is still one tough attorney, but she also has a feminine side. There's one scene that's particularly steamy, but it really defines the relationship of the two characters and works well in the context of the story.

Like most hard-boiled detective stories, the detective finds himself surrounded by women who constantly throw themselves at him, and Mantegna does a good job playing these scenes for their somewhat comedic potential. If nothing else, the racy (and very successful) series "NYPD Blue" has opened the gates for tv networks to take more risks in showing non-sexual nudity, and "Small Vices" has benefitted from it tremendously, allowing the actors to have more intimate moments (including a brief nude scene where we see an actresses' posterior as she tries to seduce Spenser in his office). Knowing that Spenser has a strong relationship with Silverman, we can see why he would rebuff so many advances by other beautiful women. We know who owns his heart, and unlike the tv show version, we know why.

Comparing the film to the tv show, I prefer Brooks' portrayal of the Hawk character. It was just such a powerful role that he stole just about every scene he was in. I can still remember the way he said "Spens-SUH!" Urich played a good action character, but Mantegna shows us much more depth and has a bit more edginess. And Marcia Gay Harden is a dead ringer for the actress (her name escapes me) that played D.A. Silverman, but the tv version of Silverman never "nursed Spenser back to health" (if you know what I mean) after he was gravely wounded by a hitman's attack. Kudos to A&E (Arts And Entertainment) for bringing us a new "Spenser" mystery.

I'll never understand why Clark Gable was cast as a British naval officer. Wait, I take that back. I know why he was cast - to sell the film to American audiences. That's the only reason I can think of. Now, Gable is a fine actor in his own right and does a very capable job in the role of Fletcher Christian, but only if Fletcher Christian is an American on an American ship. Mel Gibson did a better job in the most recent remake of this tale.

Charles Laughton as the despicable Captain Bligh gives a tremendous performance, one that other actors will be hard-pressed to match in later films. The supporting actors also do a very good job in their roles and manage to inject at least a pretense of authenticity to the film. Even the two actresses that play the love interests to Gable and the other British midshipman do a decent job, although they are hampered by the 1930's movie censorship in more than one scene. (Again, I must reference Mel Gibson's remake as doing a better job of depicting a tropical paradise, if for no other reason than its attention to authenticity due to new censorship standards in the movie industry).

The sailing scenes and deck scenes are fabulous by 1930's standards, due in part to the construction of a full-size sailing replica of the H.M.S. Bounty, which still sails today and can be seen at The Pier in St. Petersburg, Florida. Even by today's standard for demanding attention to detail in sailing films, these shots have held up well. Anyone who is a fan of the "Horatio Hornblower" miniseries will enjoy the boat scenes of this film.

Overall, a film that is guaranteed to be a classic film, though it is starting to show its age.

There have been a lot of movies with the theme of beautiful women being locked in prison and abused by the warden. This film is a classic example of that theme.

Pam Grier, the black movie queen of 1970's "B" movies, is the sadistic warden of a women's prison in a foreign country. Two of the prisoners attract her attention - a hot-blooded redhead, and the prison-informant blonde. The redhead is in prison on charges of murdering her husband. I can't remember why the blonde is in prison, but then that doesn't really matter in the film anyway. Let's just say that the redhead and the blonde don't get along, and the warden utilizes her own distinct form of justice when they get into a fight.

The redhead is taken into the warden's "play room", stripped naked (we only see the upper half), has her arms pulled up over her head and is then locked into some boots, which are then slowly cranked apart to spread her legs wide. A brazier's flame covers her modesty for most of this scene, as the warden taunts her a bit and then pushes the brazier forward - "This is our version of the hotfoot!". Cut to a scene of the women working in the field as the redhead's screams echo through the prison walls.

Later on there's a prison riot and the blonde irks the warden. To punish her, the warden strips the blonde (this time a restraint strap covers the actress' modesty) and binds the prisoner to a wheel and spins her around. After a few rotations, the warden tries to taunt the blonde into submission, but instead of surrendering, the blonde spits into the warden's face. In retaliation, the warden pulls out a trident and stabs the blonde as she's spun on the wheel some more.

Eventually the blonde and redhead team up and escape from the prison, and are pursued by the warden and her guards. The prisoners kill off the guards, capture the warden, and leave her tied to a tree as they flee to freedom.

The movie is worth seeing if you like women-in-prison films. Not much gore, and the only nude scenes are the ones described above, but what's there is worth a late-night or afternoon screening. People probably won't think of you as a cinematic genius, but what do you expect for a 1970's prison film?

The movie starts out with the lovely Rochelle Swanson soaking in a bath and relaxing. Any movie that opens with a nude scene rates high in my book anyway, and this movie just follows along on that momentum.

Rochelle Swanson first caught my eye in "Droid Gunner" (aka "Cyberzone" as the intelligent and beautiful assistant to hero Mark Singer. In that film, there were 3 opportunities for her to get naked and she didn't, so my main reason for watching this film was to see if she'd get naked in this one. She does. Plenty. The difference? They probably paid her more money for this movie.

You got your typical bored-housewife, sexy-next-door-neighbor, sexual-escape film, but with a slight twist. Rochelle Swanson is the bored housewife who's husband is a doctor (and consequently away most of the time) and the lovely May Karasun (who did a bang-up job in "Lake Consequence") is the next-door neighbor who shows her how to find some adventure as a high-priced call girl at a discreet gentlemen's club. The plot twist comes when one of the gentleman clients decides that he must have Rochelle as his own, exclusively, whenever he wants. So he breaks into Rochelle's house and leaves her a flower, and then he steals a picture from her bedroom. Frightened that her husband may find out about her extracurricular activities, she tries to quit the club scene but the client won't leave her alone. The bartender, an ex-cop who also runs background screening checks on the club's clients, finds out that the client gave them a false name and is actually an ex-Special Forces soldier, now a contract assassin, who killed May's husband a few years back. The police get involved, the husband catches the client in the house just as he attacks Rochelle, and the bartender gets to shoot his gun. The film ends with Rochelle still in that bathtub. Was this all just a daydream of hers?

Rochelle and May are always great to watch and they're hot together, though I wish Rochelle hadn't smoked so much at the beginning of the film (a real turn-off, man). The other actors are good enough, and I got a kick out of Bob Delegall (he's the only person I know who can recite a line without moving his lips). The film could've been a better thriller if they hadn't focused so much on the skin factor. Still, its a good film for late Friday and Saturday nights, which is probably when you'll find it being shown on cable television.

If ever there was a movie begging to be remade, this is it. Set on the rocky shore of the Cornwall coast of England (one of the more treacherous shorelines in the world)in the 1800's, this film tells the tale of deceit and treachery among thieves and noblemen.

A ship is spotted off the coast, making its way to England on a stormy night. A man covers the warning light on the bluffs (this was before the period of formal lighthouses and coast guards) and a band of men wait on the shore for the inevitable shipwreck. As the frigate grinds itself to death on the rocks, the men kill the unfortunate sailors and loot the cargo.

Maureen O'Hara plays a young woman who's parents have passed away and so she goes to live with her aunt and uncle at the Jamaica Inn, a small tavern on the storm-swept coast. The stagecoach refuses to stop at the inn, a foreboding of the danger that awaits there. Instead, O'Hara is deposited at the home of the local lord, played magnificently by Charles Laughton (did he ever play any other types of characters?). Struck by her beauty, he orders a servant to prepare a horse and take her to the inn. There, O'Hara mistakes the grungy man who answers the door to be a local scrub, when it is actually her uncle. Reunited with her aunt (a kindly woman bullied by a husband she loves), she goes upstairs to get settled into her new home.

In the rooms below, dirty men are drinking and singing loudly as the uncle joins them in the merriment. Seems that her uncle is the leader of this band of thieves, and that they have smelled a rat in their midst in the form of Robert Newton. They set about to hang him, but O'Hara hears the raucous men and spots the unfortunate Newton through a hole in the floor. As the men fit a rope over a beam and prepare to string Newton up, O'Hara cuts the rope. O'Hara then flees the room as the men charge up from below.

Joining up, Newton and O'Hara make their escape to the caves along the shoreline below the inn. Unfortunately, their small row boat is spotted by the thieves, who drop a dead body down a small hole onto the pair. Distracted, the row boat slips off the shore and floats away, leaving O'Hara and Newton stranded in the cave. As the pair's boat drifts off with the tide, the thieves ready a boat themselves. Slipping into the water, the pair hide behind a rock near the surfzone some distance from the cave as the thieves' boat passes by. They eventually make their way to shore, where O'Hara suggests they flee to the lord's home for assistance.

At the lord's house, O'Hara is led away to be given dry clothes. When she has gone, Newton reveals that he is actually a lawman, an officer in the Royal Navy, who has been dispatched to uncover the thieves and bring them to justice. He suspected that there was another man behind the capers, someone who was sending the thieves information about what ships to lure and at what time, but he hadn't learned who that was. The nobleman, played by Charles Laughton, offers to help, and they both grab their pistols and charge off to the Jamaica Inn to arrest O'Hara's aunt, uncle, and the theives for piracy. Hearing this, O'Hara flees the house to warn her aunt and uncle, so that they may escape the hangman's noose. Unbeknownst to Newton, the man who is giving the thieves the crucial shipping information is none other than Charles Laughton!

There you have the basic outline to the plot, as each character acts and reacts in a web of treachery and deceit, with O'Hara caught between the love for her aunt and her love for Newton. As with most Alfred Hitchcock films, the plot turns with each moment.

If I were a young filmmaker looking for a solid project, I'd re-make this film, casting Anthony Hopkins as the nobleman. I'm not sure who I would want to play Maureen O'Hara's character. O'Hara was a treasure who isn't easily matched, even in the 60 years since this film was originally released!

Don't be misled by the phrase "rated R for nudity and strong sex scene". The scene in question is not strong (though it is a bit lengthy for no apparent reason) but does have a bit of humor at the end.

Rochelle Swanson turns in a strong performance as a technician assigned to assist Marc Singer in recovering 4 "pleasure droids" which have been smuggled into Phoenix for eventual shipment to New Angeles. Have I lost you? Ok, from the top.

In the future, Earth suffers a strong earthquake, which causes California and Nevada to slide into the ocean. It seems that most of America's beautiful women were in California at the time of the tragedy and so technology has created android human-lookalikes to serve Man's carnal pleasures (no, no strong sex scene here, either). There are 3 civilizations in the future: a) a cloud city where the wealthy, intelligent people live; b) the surface, where mutants and the dregs of society live; and c) New Angeles, a new community being build under the sea, which forbids sinful activities. So where are the droids being sent? Yep, New Angeles, where a crimelord is going to set up a monopoly on sex, gambling, booze, drugs, and more sex.

Singer is hired to recover the stolen pleasure droids by the owner, who also assigns Swanson to tag along with Singer to make sure he doesn't blow the droids away. Swanson does a good job playing the beautiful technician and most of the humor comes during her scenes. For example, Singer has entered the throne of the surface crimelord to recover a bounty on a dead droid. The crimelord offers Singer 10,000 for Swanson. Singer looks over at her (her expression is great here), and declines the offer. After exiting the throne room, Swanson asks what that was all about, and Singer replies "Down here, your value is reduced to the worth of your body, sometimes just the value of a watch." Since Swanson knows that she is worth 10,000, she asks Singer what he's worth. "About 5,000. Too many bullet holes."

The quality of the film is about average for a "B" level film. The supporting actors do a passable job, but don't look for a range of emotion from anyone. Swanson is a dead ringer for television's "Wonder Woman" Linda Carter, but no, she doesn't have any nude scenes. Singer does a good impersonation of Harrison Ford's "Blade Runner" character (though I didn't like the porkchop sideburns they stuck him with). Mathias Hues does a good job as the smuggler who becomes Singer's assistant in recovering the droids when the New Angele crimelord double crosses him. And look for Brinke Stevens as a mutant strip dancer (took me a second to recognize her - I never forget a pair of, ah, er, arms).

See this film for Swanson's performance. The rest is just the stuff needed to give the film a plot.

Don't be misled by the phrase "rated R for nudity and strong sex scene". The scene in question is not strong (though it is a bit lengthy for no apparent reason) but does have a bit of humor at the end.

Rochelle Swanson turns in a strong performance as a technician assigned to assist Marc Singer in recovering 4 "pleasure droids" which have been smuggled into Phoenix for eventual shipment to New Angeles. Have I lost you? Ok, from the top.

In the future, Earth suffers a strong earthquake, which causes California and Nevada to slide into the ocean. It seems that most of America's beautiful women were in California at the time of the tragedy and so technology has created android human-lookalikes to serve Man's carnal pleasures (no, no strong sex scene here, either). There are 3 civilizations in the future: a) a cloud city where the wealthy, intelligent people live; b) the surface, where mutants and the dregs of society live; and c) New Angeles, a new community being build under the sea, which forbids sinful activities. So where are the droids being sent? Yep, New Angeles, where a crimelord is going to set up a monopoly on sex, gambling, booze, drugs, and more sex.

Singer is hired to recover the stolen pleasure droids by the owner, who also assigns Swanson to tag along with Singer to make sure he doesn't blow the droids away. Swanson does a good job playing the beautiful technician and most of the humor comes during her scenes. For example, Singer has entered the throne of the surface crimelord to recover a bounty on a dead droid. The crimelord offers Singer 10,000 for Swanson. Singer looks over at her (her expression is great here), and declines the offer. After exiting the throne room, Swanson asks what that was all about, and Singer replies "Down here, your value is reduced to the worth of your body, sometimes just the value of a watch." Since Swanson knows that she is worth 10,000, she asks Singer what he's worth. "About 5,000. Too many bullet holes."

The quality of the film is about average for a "B" level film. The supporting actors do a passable job, but don't look for a range of emotion from anyone. Swanson is a dead ringer for television's "Wonder Woman" Linda Carter, but no, she doesn't have any nude scenes. Singer does a good impersonation of Harrison Ford's "Blade Runner" character (though I didn't like the porkchop sideburns they stuck him with). Mathias Hues does a good job as the smuggler who becomes Singer's assistant in recovering the droids when the New Angele crimelord double crosses him. And look for Brinke Stevens as a mutant strip dancer (took me a second to recognize her - I never forget a pair of, ah, er, arms).

See this film for Swanson's performance. The rest is just the stuff needed to give the film a plot.

Johnny Weismuller and Johnny Sheffield are back as Tarzan and Boy, but Maureen O'Sullivan declined to appear in this film for personal reasons. Rather than recast the part, the writers decided to explain her absence by having Jane be in England tending to a sick friend. But, they felt that the film wouldn't be successful without a love interest for Tarzan, so they developed a character named Zandra, who is the queen of a lost city in the African jungle.

Nazis appear in Africa, searching for raw materials for their war machine. They parachute a team of explorers into the jungle to set up a base camp, but their radio operator gets separated from the rest of the platoon and is injured during the drop. Tarzan comes along and rescues him, while the other Nazi soldiers make their way to the Lost City and enslave the peaceful inhabitants, using them as cheap labor for the mines. Zandra tries to stop them but is defeated and has to flee the city, pursued by the Nazi invaders. Just as she is about to get captured and/or killed, Tarzan comes along and rescues her.

Boy likes Zandra and convinces her to flirt with Tarzan, and at one point Tarzan, seeing Zandra on a distant river bank wearing Jane's leather skirts, mistakes her for Jane. Could this be a blossoming romance?

Eventually, the Nazis learn that Tarzan has their radio and they attempt to get it back. They kidnap Boy and demand the radio as ransom. Tarzan and Zandra sneak into the city to rescue Boy and are captured and scheduled for execution. Fortunately, Cheetah comes along and brings Tarzan his knife, which he uses to cut his way through his bonds. In the fight that ensues, the Nazis are defeated.

Overall, its not as good as the classic "Tarzan And His Mate" film, but is still good entertainment even with the hokey "Let's beat the Nazis" theme. But then, this film was made in the dark days of World War 2 so a certain amount of patriotic fervor is understandable. Sure, the plot is formulaic but this is a "Tarzan" film after all so don't expect any deep social drama. The Zandra character was somewhat interesting and could probably have been developed into a recurring sub-plot in later movies, possibly to set up a love triangle between Tarzan and Jane. The two Johnnies do a good job with their roles and Frances Gifford is attractive in a 1940's sort of way. Curiously, after Jane's 2-piece leather outfit raised eyebrows in "Tarzan and His Mate", the costume was changed to a one-piece leather dress. So what is Zandra wearing? A 2-piece outfit that looks vaguely Arabic and shows a bit of mid-section. I guess its ok for supporting characters to show tummy but not a main character.

Ever see a tv show where the Evil Guys have kidnapped a beautiful woman and are holding her hostage until the Good Guys can come along and rescue her? Well, I don't know about you, but if I was an Evil Guy and had a beautiful woman tied up, I sure wouldn't leave her fully clothed. And in this film, the Evil Guys think like I do, but they take it to the next logical step - white slavery.

The film starts with a blonde woman, her arms tied behind her back, being led down a hallway wearing only her panties and then thrown in a small room. In the next scene, 3 young women (supposedly cheerleaders) are driving along in a convertible Cadillac when the Evil Guys blow out the Cadillac's tires with a shotgun. When the girls stop, the Evil Guys grab them and tell them to strip down to their panties. While the girls are undressing, one of the Evil Guys throws the discarded clothing into the car, douses the car with gasoline and sets it afire.

The girls are then taken to the Evil Guy's hideout, where the chief Evil Guy tells them that they are going to become sex slaves, and tells them that to show their acquiescence they must remove their panties. To persuade the girls, the chief Evil Guy pulls back a curtain to reveal the blonde woman suspended like a hammock, squirming against her bonds wearing only her panties. The girls quickly decide to surrender (keep in mind that in the 1970's, just showing a nude woman in bondage was pretty racy. Nowadays, where tattoos and body piercing is a form of fashion, the girls would probably say "me next!").

Ginger is a private investigator who is hired to find the missing women. After examining the burned out wreck of the car and doing some mild investigation, she determines that the girls have been kidnapped and used for sex slaves, so she hires a model to act as bait. Naturally, the model gets kidnapped and Ginger uses herself as bait, whereup she is promptly kidnapped, too. Back at the lair, both the model and Ginger are tied up and interrogated by the Evil Guys. Ginger is taken to a separate room while the model is stripped and fondled to get her to reveal information (apparently, arousing a woman is sufficient to get her to spill the beans). In the private room, Ginger is getting a treatment of her own. Fortunately, Ginger and the model had swallowed little disks which enable the Good Guys to track them down and rescue them.

This is a good example of a bondage/adventure/action film. The first film of the series ("Ginger") is not as good as this one. The third film of the series ("Girls Are For Loving"), has more airplanes and speedboats, but the gratuitous nudity doesn't really kick in until that last 30 minutes of the film. "The Abductors" starts with a bang and finishes with a bang, the way a good film should.

Maureen O'Sullivan turns in a stunning performance as "Jane", Tarzan's love interest. O'Sullivan's Jane set a new standard for female lead characters - strong, independent, intelligent, and not afraid to accept new challenges and face new dangers. This is remarkable given that, at the time the film was made, the typical American view was that a woman's place was in the kitchen, yet here we see an attractive, diminutive, well-bred Englishwoman living in the jungle under harsh conditions and loving every minute of it. Several times during the film, a band of explorers try to convince Jane to return to civilization and conform to society's standards, and part of the film's plot revolves around her decision as to whether or not she should leave Tarzan and the jungle life and return to America, which has led some to draw parallels between women deciding between the workplace (a man's world at the time) and the home (a woman's world at the time) and the film's world of the jungle and then-modern society.

Johnny Weismuller is cast perfectly for this role. The fact that he's an Olympic swimmer lends credibility to his role as a muscular he-man living with the apes. While some people have criticized his lack of acting ability (confusing his limited lines to be equivalent with limited acting ability), I've come to the conclusion that he's a natural actor - one who can express a range of emotion with very few words - which is exactly what Tarzan should be. As an athlete, Weismuller is used to expressing himself physically - Weismuller's Tarzan is a man of few words and limited grammar, but his eyes and body language express exactly what he's feeling and thinking. While Jane is the speaker who does, Tarzan is the doer who speaks. Jane is the civilized communicator who is not afraid to dive into a crocodile-infested river. Tarzan is the noble savage who dives into a river and only speaks to clarify what his eyes and hands are saying.

The plot is basically this: a band of explorers venture into the jungle to search for the legendary elephant graveyard to find their fortune in ivory elephant tusks. They meet Jane and befriend her, hoping that she and Tarzan will help them in their search. She convinces Tarzan to guide the hunters, although Tarzan does not feel comfortable with the venture, believing that the hunters should not be violating the sanctity of the animals' graveyards (and the unspoken law of the jungle). Indeed, at one point the hunters wound an innocent animal to track it to a grave. Tarzan decides that the hunters are evil and leaves their safari, though Jane continues on as the hunters provide her with a taste of the civilized life she left behind.

We see the conflict in Tarzan between his love for Jane and his love for the animals. We see the conflict in Jane between her love of Tarzan and her memories of civilization. The decisions that the two must make as the movie progresses have been interpreted by some as having hidden meanings and that the film producers were using the Tarzan vehicle to make statements about modern society. But I'll let you watch the film yourself and make your own decisions.

One last thing: this is the only film in the series (other than the "Tarzan" film made by John Derek and starring Bo Derek) in which Jane wears a two-piece leather costume. It's also the only installment (other than the "Tarzan" film by the Dereks) in which Jane becomes nude (but in a non-sexual scene). Trying to persuade Jane to return to civilization, the hunters give Jane a formal evening gown, which she wears to dinner and all through the night. The next morning, as she climbs out of bed still wearing it, Tarzan picks her up and carries her out onto a tree limb over the river. He dumps her into the water while holding onto the dress, so that she falls into the river naked. Tarzan makes no long soliloquy here - he's just expressed his opinion on the whole matter of civilized society quite succinctly.

See the film. It's the only "Tarzan" film worth watching (well, in addition to "Greystoke" with Christopher Lambert).